阿穆特怪兽-迈克-阿米尔·弗兰吉-双语
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实名认证

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发布于 2022-8-12 14:29:04 + 关注 623

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Introduction
Hello everyone! My name is Mike-Amir El Frangi and I am a Principal Character Artist at Quantic Dream. I have been working in the industry as a character artist for about 6 years, starting in a mobile game company in Paris before transitioning to AAA games when I joined Ubisoft Bordeaux a few years later.
Concurrently, I work as a freelancer making printable miniatures.
I love working on any type of character in any given style, my personal favourite being stylized characters, even though I enjoy doing big scary creatures from time to time!
介绍
大家好!我的名字是Mike-Amir El Frangi,我是Quantic Dream的主要角色艺术家。作为一名角色艺术家,我在这个行业工作了大约6年,从巴黎的一家手机游戏公司开始,几年后我加入育碧波尔多时过渡到AAA级游戏。
同时,我是一名自由职业者,制作可打印的微缩模型。
我喜欢以任何给定的风格处理任何类型的角色,我个人最喜欢的是风格化的角色,即使我喜欢不时地做大型恐怖生物! 2.png
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Goals
I was contacted by OnePageRules and commissioned to do this depiction of the Egyptian god Ammut, based on a .
I immediately fell in love with Fran’s rendition and attention to detail and wanted to recreate the threatening, ominous yet beautiful vibes in the 3D sculpt. The idea was to get as close as possible to the original concept while making it 3D print ready.
目标
OnePageRules联系了我,并受委托根据https://www.artstation.com/fran_fdez对埃及神Ammut进行描绘。
我立即爱上了Fran的演绎和对细节的关注,并希望在3D雕塑中重现威胁,不祥但美丽的氛围。我们的想法是尽可能接近原始概念,同时使其3D打印准备就绪。
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Software
I used Zbrush as my main working software and tried to do as much as possible inside it, although I sometimes switched to Maya when I needed to make some precise or specific adjustments to a model.
For my renders, I used Keyshot and took advantage of the Zbrush to Keyshot bridge to instantly import my models there without any hassle.
The final images and some post-process passes were composited in Photoshop.
软件
我使用Zbrush作为我的主要工作软件,并试图在它里面做尽可能多的事情,尽管当我需要对模型进行一些精确或特定的调整时,我有时会切换到Maya。
对于我的渲染,我使用了Keyshot,并利用Zbrush到Keyshot桥接器立即将我的模型导入那里,没有任何麻烦。
最终图像和一些后期处理通道是在Photoshop中合成的。
References/Inspiration
Before working on any project, I gather as many references as I can to have a solid base on which I can start sculpting my character/creature. Like a lot of artists, I like to use PureRef for that, which is free to download and super easy to use.
参考/灵感
在进行任何项目之前,我会收集尽可能多的参考资料,以建立一个坚实的基础,我可以在此基础上开始塑造我的角色/生物。像许多艺术家一样,我喜欢使用PureRef,这是免费下载和超级易于使用的。
I also like to do some research about the character or creature I am about to work on.
In Egyptian mythology, the goddess Ammut was described as having the head of a Nile crocodile, the front legs and body of a lion and the back legs of a hippopotamus, three of the biggest predators in ancient Egypt.
我也喜欢对我即将研究的角色或生物做一些研究。
在埃及神话中,女神Ammut被描述为拥有尼罗河鳄鱼的头,狮子的前腿和身体以及河马的后腿,河马是古埃及最大的三种捕食者。
Knowing that I started gathering enough lion, hippo and crocodile references to be able to understand how their bodywork, before mixing them into what will become the Ammut.
知道我开始收集足够的狮子,河马和鳄鱼参考,以便能够了解它们的身体,然后将它们混合成将成为Ammut的东西。
I added some elements that could be useful for the different armor parts and decorations, like Egyptian props and hieroglyphs.
Finally, I had some images from multiple 3D sculptors that I used as inspiration and as the level of quality I wanted to achieve. In addition, I also gathered some images of some previous OnePageRules models to try to match the general style.
我添加了一些可能对不同的盔甲部件和装饰有用的元素,例如埃及道具和象形文字。
最后,我从多个3D雕塑家那里得到了一些图像,我用这些图像作为灵感,并作为我想要达到的质量水平。此外,我还收集了一些以前的OnePageRules模型的图像,以尝试匹配一般样式。
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Blockout
Before starting to work on the Ammut, I had to make sure it was sized correctly, as the sculpt had to be 360mm long from head to tail, so I created a box in Maya that fit these measurements and imported it in Zbrush. That way I’d make sure that everything was right and avoid bad surprises later on.
封锁
在开始研究Ammut之前,我必须确保它的大小正确,因为雕刻从头到尾的长度必须为360毫米,所以我在Maya中创建了一个适合这些测量值的盒子,并将其导入Zbrush中。这样,我就可以确保一切都是正确的,并避免以后出现不好的惊喜。
I started blocking out the body of the using spheres that I placed and moved around, using the concept art as a guide to see where each element had to go and to keep the general proportions.
Blockout is a crucial step in your workflow and it shouldn’t be overlooked, as it allows you to have a feel of the silhouette and shapes without wasting too much time and effort on details.
我开始屏蔽我放置和移动的球体的身体,使用概念艺术作为指导,看看每个元素必须去哪里并保持一般比例。
Blockout是工作流程中的关键步骤,它不容忽视,因为它可以让您感受到轮廓和形状,而不会在细节上浪费太多时间和精力。
In general, I use Dynamesh on a lower setting, as it allows me to focus on sculpting big shapes first without worrying too much about topology. I then gradually increase that Dynamesh resolution, in order to create more refined details.
I mainly used the Move and ClayBuildup brushes, the former to be able to quickly move topology around and the latter to sculpt some rough shapes. DamStandard was also a useful brush to carve some early details and define muscle groups.
一般来说,我在较低的设置上使用Dynamesh,因为它允许我首先专注于雕刻大形状,而不必担心拓扑。然后,我逐渐增加Dynamesh分辨率,以创建更精致的细节。
我主要使用Move和ClayBuildup画笔,前者能够快速移动拓扑结构,后者雕刻一些粗糙的形状。DamStandard也是一个有用的画笔,可以雕刻一些早期细节并定义肌肉群。
The blockout went into multiple iterations, where I started by working on the anatomy of the Ammut, then adding armor later on.
封锁进行了多次迭代,我开始研究Ammut的解剖结构,然后添加装甲。
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For the armor parts, belts, and in general more complex elements, I masked the corresponding area on the body of the Ammut and extracted a shape out of it. You can do this by going to Tool > Extract.
Some elements like the saddle and the different shiels on his shoulders and hips were just basic shapes that I added to my scene (Tool > Append > Choose the desired shape), which I also tweaked to match the concept.
对于装甲部件,皮带以及一般更复杂的元素,我遮盖了Ammut身体上的相应区域,并从中提取了形状。您可以通过转到工具>提取来执行此操作。
一些元素,如马鞍和肩膀和臀部的不同shiels只是我添加到场景中的基本形状(工具>附加>选择所需的形状),我也对其进行了调整以匹配概念。
Sculpting
Once I had most of my elements blocked out the way I wanted them, it was time to polish them and give them their final look. I used a lot of different techniques and workflows for each part so I’ll try to talk about as much as I can.
雕刻
一旦我的大部分元素都按照我想要的方式被挡住了,就该打磨它们并赋予它们最终的外观了。我为每个部分使用了很多不同的技术和工作流程,所以我会尽可能多地谈论。
Body
During the blockout, I made sure to have all my different parts separate as their own subtools. That way, I can have more control over each individual part, allowing me to isolate them for more comfort, and to avoid having one single heavy mesh.
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在封锁期间,我确保将所有不同的部分分开作为自己的子工具。这样,我可以更好地控制每个单独的部分,使我能够将它们隔离以使其更加舒适,并避免使用单个沉重的网格。
I started refining the anatomy, working first on the primary shapes and making sure to check the references that I gathered on PureRef for the different animals. The goal was to make the Ammut look believable and match the anatomy of the existing animals it’s made of, while also having logical transitions.
At this point, I usually stop using Dynamesh. Instead, I duplicate my subtool and Zremesh it, making the topology cleaner and allowing me to use Subdivision levels. To get some of my details back, I project the Zremeshed object onto the Dynamesh one.
我开始完善解剖结构,首先研究主要形状,并确保检查我在PureRef上收集的不同动物的参考资料。目标是使Ammut看起来可信,并与它所构成的现有动物的解剖结构相匹配,同时还具有逻辑过渡。
在这一点上,我通常会停止使用Dynamesh。相反,我复制了我的子工具并对其进行了 Zremesh,使拓扑更清晰,并允许我使用细分级别。为了取回我的一些细节,我将Zremeshed对象投影到Dynamesh上。
Once again, I used the Move, Claybuildup and DamStandard as my main brushes to create the different muscle groups as well as the Standard, Orb_Cracks2 and Slash2 brushes for the secondary and some tertiary shapes, like the skin folds and the claws, nails, teeth and tongue details.
再一次,我使用Move,Claybuildup和DamStandard作为我的主要刷子来创建不同的肌肉群以及标准,Orb_Cracks2和Slash2刷子,用于二级和一些三级形状,如皮肤褶皱和爪子,指甲,牙齿和舌头细节。
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Scales/Skin Details
I used multiple techniques for the different scales and skin details on the head, body and tail.
For the body and tail, one feature I mostly took advantage of was the Alpha3D brushes that I used to create most of the scales. The same way regular 2D alphas work, Alpha3D brushes will store a 3D shape and use it to deform your topology when applying a stroke. This also means that you need to have enough resolution to avoid blurriness and lack of details, so I’d recommend using subdivision levels and working on the highest subdivision.
This is great when you need to add small and repetitive detail like scales, horns, fur, etc., although you can break that repetitiveness by making more scale variations.
These are the different scales I made for the Ammut.
鳞片/皮肤细节
我对头部,身体和尾巴的不同鳞片和皮肤细节使用了多种技术。
对于身体和尾巴,我最常利用的一个功能是我用来创建大多数鳞片的Alpha3D画笔。与常规 2D Alpha 的工作方式相同,Alpha3D 画笔将存储 3D 形状,并在应用描边时使用它来变形拓扑。这也意味着您需要有足够的分辨率来避免模糊和缺乏细节,因此我建议使用细分级别并处理最高的细分。
当您需要添加小而重复的细节(如鳞片,角,毛皮等)时,这非常有用,尽管您可以通过进行更多比例变化来打破这种重复性。
这些是我为Ammut制作的不同音阶。
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And here’s an old (but still relevant) GIF I made about how to create them.
这是我制作的关于如何创建它们的旧(但仍然相关的)GIF。
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When my brushes were ready, I started placing them on the body and the tail, trying to have a nice flow to them and checking how they look compared to my references.
The big scales on the spine and the tail’s ridge were sculpted directly into the tail and torso meshes to make them unique and give them the desired shape.
After that, I did a sculpting and polishing pass on the whole thing to break the repetitiveness even further and add some damage/wear to them.
当我的刷子准备好时,我开始将它们放在身体和尾巴上,试图让它们有一个很好的流动,并检查它们与我的参考相比看起来如何。
脊柱和尾巴脊上的大鳞片被直接雕刻成尾巴和躯干网,使它们独一无二,并赋予它们所需的形状。
在那之后,我对整个事情进行了雕刻和抛光,以进一步打破重复性,并给它们增加一些伤害/磨损。
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The skin was made using the Standard brush in DragRect mode, and by adding a frog skin alpha that I dragged around where I wanted it to be. Layers were used to have better control over the intensity of the frog skin.
皮肤是在 DragRect 模式下使用标准画笔制作的,并通过添加青蛙皮肤 alpha,我将其拖动到我想要的位置。层被用来更好地控制青蛙皮肤的强度。
I didn’t use Alpha3D brushes for the scales on the head, as I noticed they were very organic and chaotic on real-life references. Instead, I opted for a more classic approach, sculpting the scales directly into the head and using layers to control my work.
I started by defining the scales’ shape with DamStandard and used ClayBuildup, Standard, hPolish to refine them. When they were done, I added a layer of frog skin to give the extra detail and give it a bit of breakup.
我没有使用Alpha3D画笔来绘制头部的刻度,因为我注意到它们在现实生活中的参考中非常有机和混乱。相反,我选择了一种更经典的方法,将鳞片直接雕刻到头部,并使用图层来控制我的作品。
我首先用DamStandard定义了鳞片的形状,并使用ClayBuildup,Standard,hPolish来完善它们。当他们完成时,我添加了一层青蛙皮来提供额外的细节,并给它一点分手。
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Armor
For the armor parts, I used poly modeling, either with the Zmodeler in Zbrush or in Maya to have more control over it. I started by masking out an area with the desired shape, before extracting it, Zremeshing it to have a clean topology, and then using the Panel loop function to give it some thickness. Then I creased or beveled some of the edges to sharpen them. All the armor parts were made out of simple shapes that were mixed and stacked together to create the different layers.
装甲
对于装甲部件,我使用多边形建模,无论是在Zbrush中使用Zmodeler还是在Maya中,以更好地控制它。我首先用所需的形状遮盖出一个区域,然后提取它,Zremeshing它以获得干净的拓扑结构,然后使用面板循环功能给它一些厚度。然后,我对一些边缘进行折痕或斜面加工以使其锐化。所有的装甲部件都是由简单的形状制成的,这些形状被混合并堆叠在一起以创建不同的层。
After that, I used various brushes like TrimDynamic, hPolish, TrimSmoothBorders and MalletFast2, different Orb_Slash, as well as adding noise to create the damage and wear that you can see on them.
之后,我使用了各种画笔,如TrimDynamic,hPolish,TrimSmoothBorders和MalletFast2,不同的Orb_Slash,以及添加噪音来产生您可以在它们上看到的损坏和磨损。
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For the wings on the sides of the armor, I created one feather that I duplicated a few times, then made it the shape of a wing, before adding some more elements to tie them all together.
Finally, the hieroglyphs were done the same way I did the scales, using Alpha3D brushes.
对于盔甲侧面的翅膀,我创造了一根羽毛,我复制了几次,然后把它做成翅膀的形状,然后添加更多的元素将它们绑在一起。
最后,象形文字的完成方式与我使用Alpha3D画笔的比例相同。
Cloth and Bandages
The bandages were basically Zremeshed cylinders that I moved around and deformed to give them the intended shape. I preferred this method over masking and extracting in order to avoid having gaps in the 3D model that could lead to potential problems during the printing phase, and as the insides were never going to be seen anyway.
布料和绷带
绷带基本上是Zremeshed圆柱体,我四处移动并变形以赋予它们预期的形状。我更喜欢这种方法而不是遮罩和提取,以避免3D模型中出现间隙,这些间隙可能导致打印阶段的潜在问题,并且无论如何都不会看到内部。
After placing them all, I started sculpting them using the usual brushes (ClayBuildup, DamStandard, Orb_Cracks2, etc.) but in addition to that, I also took advantage of some of Zbrush’s cloth simulation brushes, especially the TransposeCloth and MoveCloth.
在将它们全部放置后,我开始使用通常的画笔(ClayBuildup,DamStandard,Orb_Cracks2等)雕刻它们,但除此之外,我还利用了Zbrush的一些布模拟画笔,特别是TransposeCloth和MoveCloth。
I found out these brushes were a great way to create a solid base for simple folds without having to rely on external software like Marvelous Designer.
Be wary that the result will greatly depend on your polygon density, the higher it is and the smaller the folds will be, so I recommend staying in the first two subdivision levels for this.
我发现这些画笔是为简单折叠创建坚实基础的好方法,而不必依赖像Marvelous Designer这样的外部软件。
请注意,结果将在很大程度上取决于您的多边形密度,它越高,褶皱越小,因此我建议您留在前两个细分级别。
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The cloth belts on the torso were done in the same manner. After creating the base folds, I did some sculpting passes over them, increasing or reducing some of the folds, as well as adding details and damage in some areas.
The big fabric underneath the armor was also done in the same way (more or less). I started by masking the area on the body of the Ammut, extracted it and cleaned it. Then I sculpted basic shapes and used cloth simulation brushes. Rinse and repeat until I was satisfied with the look.
躯干上的布带也以同样的方式完成。在创建基础褶皱后,我对它们进行了一些雕刻,增加或减少了一些褶皱,并在某些区域添加了细节和损坏。
盔甲下面的大织物也以同样的方式(或多或少)完成。我首先掩盖了Ammut身上的区域,将其提取并清洁。然后我雕刻了基本形状,并使用布料模拟画笔。冲洗并重复,直到我对外观感到满意。
Hair
Finally, the hair was done using the Stylized Hair Brush Pack by the amazing Hong Chan Lim (). These are InsertMultiMesh brushes (IMM for short) with the curve mode turned on. Basically, you draw a curve and the brush will repeat a shape alongside this curve, with a taper on the end.
These kinds of brushes are great for creating all sorts of stuff like horns, hair, ropes, etc. that can have complex curves or elongated shapes.
In my case, I just drew multiple layers of hair using this brush, giving it a nice flow and trying to get a lion mane to feel to it. I did the same on the back of the front legs.
And here’s the final result!

最后,头发是使用令人惊叹的Hong Chan Lim(https://www.artstation.com/hcldesignworks)的风格化发刷包完成的。这些是打开曲线模式的 InsertMultiMesh 画笔(简称 IMM)。基本上,您绘制一条曲线,画笔将沿着这条曲线重复一个形状,末端有一个锥形。
这些类型的刷子非常适合创建各种东西,如角,头发,绳索等,这些东西可以具有复杂的曲线或细长的形状。
就我而言,我只是用这把刷子画了多层头发,给它一个很好的流动,并试图让狮子鬃毛感觉到它。我在前腿的背面也做了同样的事情。
这是最终结果!
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Posing
Now that the high poly was done and I had all my elements, it was time to pose the Ammut. For this, I used the Transpose Master tools inside Zbrush.
摆姿势
现在高多边形已经完成,我有了我所有的元素,是时候摆出Ammut了。为此,我使用了Zbrush中的Transpose Master工具。
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By hitting the TPoseMesh button, Zbrush merges all your visible subtools into one single file and in a separate scene, with each object as a different polygroup. It is highly recommended to be using subdivision levels for this, as the Transpose Master goes for the lowest subdivision available! So avoid having super heavy dynameshed subtools, as this will slow your scene and make things harder to deform.
通过点击TPoseMesh按钮,Zbrush将所有可见的子工具合并到一个文件中,并在一个单独的场景中,每个对象作为不同的多边形组。强烈建议为此使用细分级别,因为转置主节点适用于可用的最低细分!因此,请避免使用超重的动态夹层子工具,因为这会减慢场景的速度并使物体更难变形。
That said, I started working on the pose, matching the one that was given to me with the concept. As I didn’t have an environment to pose my Ammut in, I used basic shapes like cubes to simulate the big pillar/obelisk and the rocks/dunes he is standing on. When I was done, I clicked the Tpose | SubT button to apply the pose to my working scene. After that, I still had to clean some areas that got messed up by the Transpose Master. I also took the opportunity to sculpt some shapes again, like muscles for example.
也就是说,我开始研究这个姿势,将给我的那个姿势与这个概念相匹配。由于我没有环境来摆放Ammut,我使用立方体等基本形状来模拟大柱子/方尖碑以及他所站立的岩石/沙丘。完成后,我单击了 Tpose |SubT 按钮将姿势应用于我的工作场景。在那之后,我仍然需要清理一些被转置大师弄乱的区域。我还借此机会再次雕刻了一些形状,例如肌肉。
For the terrain, I used some previous assets that were done for OnePageRules, moving, cutting and combining subtools to get the result I wanted. Here’s what the Ammut looks like posed and with the small diorama!
对于地形,我使用了以前为OnePageRules完成的一些资源,移动,切割和组合子工具以获得我想要的结果。这是Ammut摆姿势和小西洋镜的样子!
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Rendering and compositing
I rendered the Ammut using Keyshot, which is great at handling very heavy objects (the Ammut was around 130millions points!) like they’re nothing, and you can export your object in one click thanks to the Zbrush-Keyshot bridge.
渲染和合成
我使用Keyshot渲染了Ammut,它非常适合处理非常重的物体(Ammut大约有1.3亿点!)就像它们什么都不是一样,并且由于Zbrush-Keyshot桥接器,您可以一键导出对象。
It’s fairly easy to use and there is a library with a great selection of materials to work with. I used some custom materials and relatively simple lighting made of key light and rim light. The background was a simple backdrop with a dark material applied to it.
它相当易于使用,并且有一个库,其中包含大量可供选择的材料。我使用了一些定制材料和由关键光和边缘光制成的相对简单的照明。背景是一个简单的背景,上面应用了深色材质。
Then all that was left to do was to find some nice angles, hit the Render buttons and listen to my PC scream for a few minutes. Special thanks to my good friend Ali El-Hashimi who helped me find some nice camera angles for this project! You can see some of his works here:
然后剩下要做的就是找到一些漂亮的角度,点击“渲染”按钮,听我的PC尖叫几分钟。特别感谢我的好朋友Ali El-Hashimi,他帮助我为这个项目找到了一些不错的相机角度!你可以在这里看到他的一些作品:https://www.artstation.com/alielhashimi
I rendered multiple versions of the same camera angles but with different materials applied to the model like metal, marble, etc. These will be later used in Photoshop to create the final image.
Once I was done with my renders, I imported everything in Photoshop and did some compositing, using the previously rendered images, alongside some light photo bashing, color, values and levels corrections.
Here’s what the photoshop file looks like.
我渲染了相同相机角度的多个版本,但对模型应用了不同的材质,如金属,大理石等。这些稍后将在Photoshop中用于创建最终图像。
完成渲染后,我在Photoshop中导入了所有内容,并使用先前渲染的图像进行了一些合成,以及一些轻微的照片抨击,颜色,值和级别校正。
以下是 Photoshop 文件的外观。
24.png
And here’s a walkthrough of every step from the raw render until the final image.
下面是从原始渲染到最终图像的每个步骤的演练。
25.gif

Conclusion
And that’s basically it! The Ammut was done!
Sculpting the Ammut was a lot of fun! I love working on big creatures and I have a soft spot for ancient Egypt and Egyptian mythology in general, so this project with right in my alley! The whole fact that Ammut is basically three animals in one, creating interesting anatomy to work on, combined with the armor and different hard surface elements made it a really cool challenge, and I’m super happy with the results.
I would like to thank GamesArtist for giving me the opportunity to write this article. It’s never an easy task to summarize several months of work and put it on paper but it’s always a fun exercise and I hope you’ll find it useful and maybe learn some stuff!
In any case, thank you for making it to this point! Feel free to check out my Artstation page if you like my work, and to add me on LinkedIn if you want to have a quick chat!
结论
基本上就是这样!阿穆特完成了!
雕刻Ammut非常有趣!我喜欢研究大型生物,我对古埃及和埃及神话情有独钟,所以这个项目就在我的小巷里!Ammut基本上是三只动物合二为一,创造了有趣的解剖结构,结合盔甲和不同的硬表面元素,使其成为一个非常酷的挑战,我对结果非常满意。
我要感谢GamesArtist给我机会写这篇文章。总结几个月的工作并将其写在纸上从来都不是一件容易的事,但这总是一个有趣的练习,我希望你会发现它很有用,也许可以学到一些东西!
无论如何,感谢您走到这一步!如果您喜欢我的作品,请随时查看我的Artstation页面,如果您想快速聊天,请LinkedIn添加我!
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铁木皮  发表于 2022-8-29 08:29:21  
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落笔  发表于 2022-8-31 00:09:36  
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玖杉杉  发表于 2022-8-31 17:08:07  
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元素那么大,我想去看看!
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